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Lot 430
NINTENDO (NES) - A group of three video unboxed game cartridges, SUPER MARIO BROS. SUPER MARIO BROS 2 and SUPER MARIO BROS 3, for the original Nintendo Consoles. (3)The first games released featuring Mario and his supporting cast for any games consoles after the arcade version making these culturally important video games very sought after.
Lot 553
SEGA MEGA DRIVE - A group of three Sega Mega Drive games, MORTAL KOMBAT 1, 2 and 3 (1993-1994) boxed, 1 and 3 complete with instructions.The original Mortal Kombat game was considered so violent that it and few other titles were responsible for the creation of the Entertainment Software Rating Board to classify games with age ratings and restrictions, hence there being no rating on the reverse of the box for the first game but ratings on Mortal Kombat II and III.PLEASE READ CAREFULLY - All items in this sale are SOLD AS SEEN in compliance with UK Auction Law. They are not tested in any way, and we cannot guarantee the working condition of any consoles or games in this section of the auction. Electrical items should be PAT tested by a competent electrician before use. PLEASE make sure you are satisfied with the condition of each lot BEFORE bidding, either by viewing in person, or asking for further pictures or a condition report.
Lot 307
MARVEL - A folio of storyboards from the production of SPIDER-MAN the animated series, signed and stamped by head writer John Semper. This is a unique complete collection of storyboards that were used throughout the production of the first ever episode of the Marvel TV show Spider-Man: the animated series titled 'Night of The Lizard' which aired in November 1994.The storyboards were then compiled into a folio of 343 pages as a gift for John Semper. They contain fascinating directing and animation notes as well as dialogue. A one-of-a-kind chance to own a unique piece of superhero memorabilia. This lot has been independently verified and comes with an Excalibur Certificate of authenticity.
Lot 91
JAMES BOND - An impressive collection of 17 Bond Girl autographs compiled in 'The James Bond Girls' (1989) containing the signatures of EUNICE GAYSON (Dr. No, From Russian With Love - considered to be the first Bond Girl), HONOR BLACKMAN (Pussy Galore), SHIRLEY EATON, TANIA MALLET, MARGARET NOLAN (Goldfinger), LUCIANA PALUZZI and MARTINE BESWICK (Thunderball), TRINA PARKS + signed photo, LANA WOOD (Diamonds Are Forever), MADELINE SMITH (Live and Let Die), BRITT ECKLAND (Man with the Golden Gun), CAROLINE MUNRO (The Soy Who Loved Me), CORINNE CLÉRY (Moonraker), ALISON WORTH (For Your Eyes Only), EVA RUEBER-STAIER and KRISTINA WAYBORN (Octopussy), MARYAM d'ABO (The Living Daylights), This lot comes with an Excalibur Certificate of authenticity.
Lot 571
SNK NEO GEO - A NEO GEO POCKET COLOR handheld games console together with 5 loose game cartridges - KING OF FIGHTERS R2, METAL SLUG FIRST MISSION, SONIC THE HEDGEHOG POCKET ADVENTURE, PAC-MAN, CARD FIGHTERS CLASH and a boxed and complete video game of PUZZLE BUBBLE MINI (7)PLEASE READ CAREFULLY - All items in this sale are SOLD AS SEEN in compliance with UK Auction Law. They are not tested in any way, and we cannot guarantee the working condition of any consoles or games in this section of the auction. Electrical items should be PAT tested by a competent electrician before use. PLEASE make sure you are satisfied with the condition of each lot BEFORE bidding, either by viewing in person, or asking for further pictures or a condition report.
Lot 371
A WW II black and white portrait photograph of a young lady, mounted in a card hand written to the opposing side "Rosie aged 18 years 4 months killed Sep. 8th 1940 by enemy action at Walkers (Jewellers) High St East Ham", together with two letters relating to the incident the first from the Imperial War Graves Commission and other the County Borough of East Ham, together with various other ephemera and effects to include WW II photographs and a 7th Armoured Division formation patch etc.
Lot 116
Lear, Edward: The Book Of Nonsense Comprising One Hundred and Twelve Humourous Illustrations, Forty-First Edition, London; Simkin, Marshall, Hamilton, Kent & Co., Ltd Paternoster Row, in purple publisher's cloth 8vo, together with More Nonsense, Third Edition, London and New York: Frederick Warne & Co. 1889, in red pictorial cloth with gilt title, oblong 4to. (2)
Lot 540
An early 20th century flight log book, dating from 1915; together with a vintage photograph of an aeroplane titled 'First Machine built by Boulton & Paul, delivered October 2nd 1915', bearing a label verso inscribed ' To Mr H.R. Fisk This photograph of the first machine made at our Rose Lane Works is sent with the firm's compliments in recognition of services rendered. Boulton & Paul LTD' signed and dated 7.10.16 (2)
Lot 390
Alison Uttley: The Squirrel, the Hare and the Little Grey Rabbit, 1937; Squirrel Goes Skating, 1946; The Great Adventure of Hare, 1936; Fuzzypeg Goes to School, first edition 1938; Moldy Warp The Mole, first estition 1940; Little Grey Rabbit's Washing-day, first edition 1942; The Knot Squirrel Tied, first edition 1937; Water-Rat's Picnic, first edition 1943; plus others, colour illustrations by Margaret Tempest, along with 'The Story of Four Little Sabots' by Dora W Merritt, 'The Tale of the Pie and the Patty Pan' by Beatrix Potter, and 'The Cuddly Kitty and The Busy Bunny' by Anne Anderson and Alan Wright. (16)
Lot 175
A Queen Elizabeth II General Service medal, with Northern Ireland clasp, inscribed to Lieut. D. J. C. Jeffree RN, and 'The Falklands Collection', sets of the ships (post cards) involved in the Falklands Campaign, stamped and franked on 14th June 1983, the first anniversary of the recapture of the Islands from the Argentines, this set is numbered 106/1000
Lot 456
Airfix 1/144 Scale Series 9 Apollo Saturn V model kit, two 1/72 scale Lunar Module kits, Heller Program Apollo kit, Cadet X15, (all boxed and seem complete), a Victory plywood jigsaw puzzle of the 1969 lunar landing, boxed; Apollo 11 Man on the Moon 45rpm Vinyl record with original sleeve, The story in sound of the Apollo 11 landing July 20, 1969, along with a book ‘Carrying the Fire’ by Michael Collins - an autobiography by the astronaut who flew the Apollo 11 capsule around the moon on the first landings in 1969, First UK Edition, W.H. Allen (1975); the Rand McNally ‘Official Map of the Moon’, a model rocket, and other moon related books. (a lot)
Lot 5050
Großes Konvolut Porzellan, Meissen, KPM Berlin und Rosenthal: 4 Essteller, Zwiebelmuster (davon 3 erste Wahl), 3 Tellerchen Rote Rose, kleine Vase Rote Rose, 3 Tellerchen Gelbe Rose (davon 1 x min.best.), zweite Wahl, alle Schwertermarke Meißen; kleiner Teller, 3 Teller in Blattform, ein Untersetzer in Form eines Fisches, Zeptermarke; zierlicher Jagdhund, Rosenthal. Dazu: Deckeldose, Meissen, und kleiner Fischteller, KPM, beide min.best. Large assortment of porcelain, Meissen, KPM Berlin and Rosenthal: 4 dinner plates, onion pattern (of which 3 first choice), 3 small plates Red Rose, small vase Red Rose, 3 small plates Yellow Rose (of which 1 x min.dam.), second choice, all sword mark Meissen; small plate, 3 plates in leaf form, a coaster in the form of a fish, scepter mark; delicate hunting dog, Rosenthal. Comes with: lidded box, Meissen, and small fish plate, KPM, both min.dam.
Lot 11013
Leopold Mozart: Gründliche Violinschule. 3. vermehrte Auflage. Verlag: J. J. Lotter u. Sohn, Augsburg 1787. 268 S. + Register. Im Schober. Der Komponist u. Kapellmeister Leopold Mozart, Vater von Wolfgang Amadeus Mozart, unterwies u.a. die Salzburger Kapellhausknaben im Violinspiel. Dazu hatte er einige Regeln niedergeschrieben und lange gezögert diese zu veröffentlichen, "weil ich zu blöde war bey so aufgeklärten Zeiten mit meiner geringen Bemühung an das Tageslicht zu treten" (aus dem Vorwort). - Die erste umfassende Violinschule in deutscher Sprache. / Leopold Mozart: Gründliche Violinschule. 3rd enlarged edition. Publisher: J. J. Lotter u. Sohn, Augsburg 1787. 268 pp. + index. The composer a. conductor Leopold Mozart, father of W. A. Mozart, taught the Salzburg Kapellhaus boys how to play the violin. He had written down some rules for this and hesitated to publish them for a long time "because I was too stupid in such enlightened times to step into the light of day with my little effort" (from the preface). - The first comprehensive violin school in German.
Lot 2026
Unbekannter Künstler, Portrait eines Herrn, Inschrift: Jos. Wilhelm Reichs Freyherr zu Bubenhofen, fürstlich Würzburgischer Kammerherr, Rittmeister der Leibgarde, Oberstleutenant des Guttenbergischen Dragonerregiments, Erster Inhaber des VI Oberregts. 1803 -1814, Zwei Zickzackbalken im Wappenfeld, Krone, Öl/Lwd, Altersspuren, 88 x 68 cm. Unknown artist, portrait of a gentleman, inscription: Jos. Wilhelm Reichs Freyherr zu Bubenhofen, princely Würzburg chamberlain, cavalry captain of the Life Guards, lieutenant-colonel of the Guttenberg Dragoon Regiment, first holder of the VI Oberregt. 1803 -1814, Two zigzag bars in a field of coats of arms, crown, oil on canvas, traces of age, 88 x 68 cm.
Lot 5022
Konvolut Meissen, Porzellan, Schwertermarke Meißen: Ovales Bild einer Bäuerin "Spinasch und Sürken", 17 x 14,5, erste Wahl; Suppenteller, Rote Rose, zweite Wahl, sowie eine kleine Vase, erste Wahl, H 6,5 cm; Essteller, Buschwindröschen, zweite Wahl, Knaufschwerter; Schale mit kleinen Stiefmütterchen, seitliche Henkel, erste Wahl, D ca 27 cm; Schälchen, Weinlaubdekor, zweite Wahl, 18 x 14 cm. Mixed lot Meissen, porcelain, Meissen sword mark: oval picture of a peasant woman "Spinasch und Sürken", 17 x 14.5, first choice; soup plate, red rose, second choice, and a small vase, first choice, h 6.5 cm; dinner plate, wood anemone, second choice, pommel swords; bowl with small pansies, side handles, first choice, d ca 27 cm; small bowl, vine leaf decoration, second choice, 18 x 14 cm.
Lot 5052
Großes Konvolut Meissen und Nymphenburg. Meissen: 1 Prunkteller, kobaldblau, weiß, gold, D 23 cm; 2 Tassen mit Untertassen, Dekor Glockblumen, Schwanenhenkel, Marcolini; stattlicher Duchbruchteller D 27 cm, Kuchenteller D 18 cm, 3 Kaffeetassen, eine Mokkatasse, ein Sahnekännchen mit Knaufschwertern und ein kleines Schälchen D 8 cm, alle Schwertermarke Meißen, erste Wahl; Unterteller Streublümchen, Kuchenteller und Gebäckteller Indisch Purpur (zweite Wahl) und Indisch Grün, Kannenuntersetzer Bunte Blume 2 D 15 cm, Plätzchenteller Kupfer Drache D 18 cm, Durchbruchteller Lila Tulpe D 21 cm, Schwertermarke Meißen, erste Wahl; Nymphenburg: Körbchen mit durchbrochenem Rand H 6 cm, L 18 cm, B 15 cm, 6 Durchbruchteller mit rocailliertem Rand, teils vergoldet, Bunte Blume 6, alle gemarkt, D 20 cm. Teils berieben. / Large lot of Meissen and Nymphenburg. Meissen: 1 ceremonial plate, cobalt blue, white, gold, d 23 cm; 2 cups with saucers, bellflower decoration, swan handle, Marcolini; stately break-through plate d 27 cm, cake plate d 18 cm, 3 coffee cups, a demitasse cup, a cream jug with pommel swords and a small bowl d 8 cm, all Meissen sword mark, first choice; Saucer scattered flowers, cake plate and pastry plate Indian purple (second choice) and Indian green, coaster Bunte Blume 2 D 15 cm, cookie plate copper dragon D 18 cm, pierced plate purple tulip D 21 cm, Meissen sword mark, first choice; Nymphenburg: Basket with pierced rim H 6 cm, L 18 cm, W 15 cm, 6 pierced plates with rocailles rim, partly gilt, Bunte Blume 6, all marked, D 20 cm. Partly rubbed.
Lot 17
An Anglo-Dutch early 18th century walnut, ebonised line-inlaid and fruitwood marquetry double-domed bureau cabinet1705-1720With an ogee moulded cornice above a pair of later bevelled mirror inset arched shaped moulded panelled doors each within a tablet and stylised scrolled foliate pattern-inlaid surround, over two panel moulded candle slides, the hinged fall with similar tablet inlaid angles and conforming pattern-inlaid border, enclosing eight pigeon holes, four bowfront and four twin concave fronted drawers each with gradated chequered featherbanding, with three shaped apron drawers above a central shaped door inlaid with scrolled acanthus foliage and an heraldic lion rampant issuing from a ducal coronet, enclosing a mirror panelled interior interspersed with six Ionic pilasters and with a stepped chequer board base, flanked by Corinthian pilaster bookends, over lopers and one long drawer, with two short and two long graduated drawers below, each drawer with conforming inlay, on bun feet, the mirror glass later, the heraldic inlay to the small internal door possibly 19th century, 106cm wide x 58cm deep x 235cm high, (41 1/2in wide x 22 1/2in deep x 92 1/2in high)Footnotes:The heraldic inlay to the small central door located inside the hinged bureau fall of the offered lot depicts a demi-lion rampant issuing from a coronet. During the early 18th century, heraldic design involving lions usually depicts heads or complete bodies, whereas a demi-lion might be expected from the late 18th century onwards and into the 19th century. It is possible to speculate that the present inlay is associated with the Bromley family, since the crest surmounting their coat of arms is comprised of a demi-lion issuing from a ducal coronet which seems at first sight to be related. An example, dated 1703, from a book plate attributed to William Bromley of Bagington, Warwickshire, displays a similar lion passant device, although importantly this comparable crest includes a spear and pennant gules charged with a lion passant. These elements are absent from the device inlaid into the offered bureau cabinet. Also of note is the fact that the blazon of the original crest specifies a mural crown rather than a ducal coronet, whilst the lion itself is full and not demi. All of which discrepancies suggest that the family were operating with free licence when using the original grant of arms applied to their possessions. Such a discretion might have been carried out at a later stage and as a result we may have the crest occurring as seen on the above. However, unfortunately without knowledge of this piece's historic provenance ultimately it has not proven possible to identify. It could be a product more of artistic licence from the 19th century than a direct reference to a specific early 18th century heraldic design. Two further possibilities include crests each comprised of a lion's head and shoulders (no paws) issuing from a ducal coronet. These crowning elements might relate to two separate historic coats of arms. One pertaining to Edward Ward Baron Dudley and the other to Henry Boyle Baron Carleton. But this of course, whilst interesting, only adds to the overall uncertainty.We are grateful to Roger Whitworth for the research, information and content involved in this footnote.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 135
A George III mahogany serpentine commode attributed to Henry Hill of Marlborough (active c.1740-d.1778)1765-1770The top with an ebony line-inlaid border and a reverse ogee moulded edge, above one long mahogany lined drawer enclosing three divisions, over two long graduated mahogany lined drawers, flanked by keeled angles each mounted with acanthus, floral and line-incised cartouche cast clasps, with leaf-interspersed chute mounts terminating in rocaille and foliate wrapped opposing C-scroll sabots, on splayed front legs and square section rear legs, with a shaped apron below, the top drawer originally fitted with a sliding top, lidded compartments and probably also a dressing mirror, with red wash to the underside and original handles, there is a paper label to the interior which reads: 'SIR J.D. ASTLEY, BART, From: Bedroom, No. Corridor', also stamped: 'EDWARDS & ROBERTS', 109cm wide x 61cm deep x 85.5cm high, (42 1/2in wide x 24in deep x 33 1/2in high)Footnotes:ProvenanceThe present lot formerly belonged to Sir John Dugdale Astley, 3rd Baronet (1828-1894).A closely related serpentine commode attributed to Henry Hill of Marlborough sold Christie's, London, 23 July 2020, Wilton Crescent: A Robert Kime Interior, lot 152. Both the offered example and this comparable share a number of characteristics in common, which are: elegant serpentine profiles; prominent moulded top edging; 'book-matched' flame figured drawer front veneers; cabriole angles; and distinctive shaping or 'waving' to their aprons. Added to this, they have very similar handle mounts. In terms of construction, whilst the output of Henry Hill tends to be typified by the employment of pine drawer bottoms, it is notable that both of these particularly fine models incorporate drawers made solely of mahogany. There is at least another model of this type recorded as having mahogany lined drawers and it is illustrated in L. Wood, Catalogue of Commodes, 1994, London, p. 205. A further variant of interest, one possibly attributable to Henry Hill, sold Christie's, London, 15 November 2017, The Collector, lot 6. Although this also has a number of the same aforementioned elements in common with the present, as well as previously referenced, commodes, perhaps most interesting of all is the fact that these two both incorporate the fairly unusual feature of the cockbeading continuing down the drawer sides so as to conceal any dovetailing. Evidently this constructional aspect is apparent on some other examples likewise attributed to Hill, as referred to in Ibid, p. 66, fig. VI. The French style angle mounts on the above compare relatively closely in style, design and even execution to those appearing on a version attributed to the Marlborough cabinet maker, which sold Christie's, London, 28 November 2002, English Furniture, lot 120.As already referenced, the book matched flame figured veneering to the drawer fronts of this lot is often a distinctive aspect of serpentine commodes either known to have been made by, or attributed to, Henry Hill of Marlborough. However, other notable elements which also recur throughout much of this renowned maker's output can also be found on the offered example and these include: a serpentine profile, cabriole angles and a 'scalloped' apron. Such characteristics appear on a number of commodes attributed to Hill that are in the Lady Lever Art Gallery as well as featuring in L. Wood, Catalogue of Commodes, 1994, London, No. 4, pp.'s 64-73.Lucy Wood illustrates therein three closely related versions (in order of similarity): a mahogany commode, formerly with Mallett; a commode sold Christie's, London, 23 February 1989, lot 131 and a pair in the collection of The Rt. Hon. Lord Methuen at Corsham Court, Wiltshire, a documented Henry Hill commission. A further similar chest with identical profile is in the Victoria & Albert Museum, London, and illustrated M. Tomlin, Catalogue of Adam Period Furniture, London, 1982, p. 180.Though Hill's furniture commissions were largely from Wiltshire families, they were among some of the most sophisticated patrons of the era. One exception was the commission for Sir John, later Lord Delaval, who was also a patron of the Royal cabinet-marker, John Cobb. Delaval was unique in that furniture made by Hill was for Lord Delaval's London house.An old label to the interior of the present lot refers to Sir John Dugdale Astley, 3rd Baronet, who was almost certainly a previous owner. An eccentric character, Sir Astley was a member of the Scots Fusilier Guards from 1848 to 1859, serving in the Crimean War and would later retire as a Lieutenant-Colonel. Towards the end of his military service, Sir Astley married Eleanor Blanche Mary Corbett, heiress to Elsham Hall, North Lincolnshire – with his finances and future now relatively secure, Sir Astley devoted his life to horse racing, boxing and pedestrianism (an early form of competitive walking).His particular devotion to horse racing led to him becoming a popular figure within the scene, acquiring the nickname 'The Mate' on account of his gambling habit and ability to both win and lose vast sums of money. Before his death, Sir Astley wrote a book detailing his sporting escapades; if the foreword of this book is to be believed, it was predominantly written in order to fund his lifestyle, having spent a majority of his money on horses. It proved to be a success and was in fact the first recorded use of the phrase 'like a duck to water', referring to his natural shooting ability.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 87
A second-quarter 19th century, French tapestry depicting The Miraculous Draught of FishesAtelier La Foret, the border designed by Viollet le Duc, after the series of the Acts of the Apostles cartoons by Raphael, commissioned by Pope Leo X for the Sistine Chapel, Vatican, Rome,Designed with the New Testament scene depicting the fisherman Simon, later called Peter, as he is called to be a disciple of Jesus'. The bearded figure of Simon, dressed in a blue tunic, kneeling before Christ, his hands clasped together, the large catch can be seen overflowing in the boats and the nets appearing to be close to bursting with fish, another bearded figure, probably Andrew, stands behind Simon, his hands outstretched in disbelief, the boat behind this containing yet more fish and three bewildered fishermen, the immediate foreground, depicting the shore of the Sea of Galilee, three herons standing to the bottom left, a fruiting tree stump to the bottom right, the middle ground with townscape and rolling hills and peasant folk, the hazy sky filled with birds and rolling clouds, the whole enclosed by an elaborate rich border with ribbon tied swags, pendant fruit and foliate groups, on a 'Bleu de Roi' ground, with slender inner crimson border divided by narrow bamboo shoots, the corners with bound stems in trefoil motif, with later green outerslip which has later repairs and alterations. 530cm x 507cm approximatelyFootnotes:ProvenanceBy repute presented to the 4th Earl of Clarendon by Napoleon III at the Conference of Paris (viz 1873 notes by Katherine, Countess of Clarendon)The 4th Earl of Clarendon was born in 1800 into the Villiers family and served as an English diplomat and statesman. After coming down from Cambridge he was appointed attaché to the British embassy at Saint Petersburg where he remained for three years. Later in his career, Clarendon, in his capacity as Foreign Secretary, kept a close relationship with Emperor Napoleon III and the Empress Eugenie. At the Congress of Paris in 1856, when the Crimean War ended, Clarendon was the first British plenipotentiary to attend such a conference in person to negotiate a peace treaty since Lord Castlereagh.The original Raphael cartoons were commissioned by Pope Leo X in 1513 shortly after his election. The monumental designs are designed with key episodes of the lives of Saint Peter and Paul. All of the cartoons depicting the life of Saint Peter have survived -these include Christ's Charge to Peter, The Death Ananias, The Healing of the Lame Man and The Miraculous Draught of Fishes. The latter scene (used for the design of the present lot) depicts the founding moment of Christianity set on the Lake of Gennesaret in the Sea of Galilee -when Simon (later called Peter) is summoned to be Christ's first apostle. Simon kneels before Christ who raises his hand in blessing saying Fear not; from henceforth thou shalt catch men. James and John standing hunched in the other boat as they haul in the catch would also become followers of Christ -their father Zebedee can be seen trying to keep the boat steady. These figures in particular are reminiscent of the art of Michelangelo -more specifically the lost cartoon of the Battle of Cascina which show nude males kneeling over a riverbank.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 47
Rothschild Tazza: a 19th century French hardstone, gold, silver-gilt and enamelled figural tazzasigned Morel et Cie, Rue Neuve St Augustin, Paris, circa 1842-48The circular chalcedony dish with a handle modelled as a kneeling fairy with enamelled wings, highlights and curling ribbon strapwork holding a armorial shield with the Rothschild arms, two further putti mounts, the stem formed as two nymphs sitting back to back against an elaborate green translucent enamelled palm tree, separated by two shields each enamelled an L and an R entwined with a banner motto: 'Concordia, Integritas, Industria,' on a carved rock crystal cushion with enamelled spreading foot, with script L in enamel underneath, height 14.4cm.Footnotes:Jean-Valentin Morel (1794-1860) was the son of the Parisian lapidary Valentin Morel. Starting his apprenticeship in his father's workshop, he transferred to that of the gold box maker Adrien Vachette. He began working on his own account in 1827, choosing the same initials for his mark as his master: M V. In 1842, he set up a partnership with architect Henri Duponchel to form Morel et Cie in Rue Neuve St Augustin. Morel was able to expand his enterprise and is said at this time to have employed some eighty craftsmen, including lapidaries, enamellers and goldsmiths. Controversially, he used gold, gilt and damascening on his artworks.In 1848, the partnership was dissolved in a bitter lawsuit and Morel was barred from working in the Department of the Seine. He moved his business to London where he had considerable success at the Great Exhibition of 1851. It could be said that his career culminated in the magnificent Hope Cup, shown at the 1855 Exposition Universelle in Paris.The L and R on the shields suggest a connection to Baron Lionel Nathan de Rothschild (1808 – 1879), a banker, politician and philanthropist. He became the first practising Jew to sit as a Member of Parliament in the House of Commons of the United Kingdom. Lionel's brother, Sir Anthony Nathan de Rothschild, (1810 – 1876) is associated with an important agate cup and cover by Morel from the late 1830's, see Sotheby's, 10 May 2016, ex lot 6. Perhaps the present lot was a gift from Anthony to Lionel on the occasion of the birth of his son, Leopold, in 1845.For further information on this lot please visit Bonhams.com
Lot 152
After Lord Frederic Leighton (British, 1830-1896): A patinated bronze figure of 'The Sluggard'Possibly cast by the Morris foundry at the time of its amalgamation with the J.W. Singer foundry, circa 1927 or thereafterThe nude male stretching, on integral square base, entitled 'THE SLUGGARD' and with facsimile signature Fred. Leighton to the rear corner, the reverse with raised cast letter and number M 1st mark, 53cm high overallFootnotes:ProvenanceBy family repute thought to have been acquired by the vendor's Grandfather when working as a foundryman at the Morris Singer Foundry in Lambeth, London, possibly prior to the Second World War. Thence by family descent. Although perhaps better known as a fashionable Royal Academy painter of the late 19th century, Leighton took up sculpture in the 1870s and today is regarded as the father of New Sculpture in England. Leighton's Sluggard, also known as 'Athlete Awakening from Sleeping', was first executed in 1882. The Italian model Giuseppe Valona who had posed for 'An Athlete Struggling with a Python' was again used by Leighton to pose for 'The Sluggard'. Although firstly modelled in clay, a more refined life-size plaster was later exhibited at the Royal Academy in 1886 and this was awarded a medal of honour when it was shown at the Paris Exposition Universelle three years later. A bronze cast of this plaster, acquired by Henry Tate in 1896, is now in the Tate Gallery. The work later became the basis for one of the most popular Victorian statuettes when reduced-scale bronze editions were made by Arthur Leslie Collie and cast by the Singer Foundry.As the base of the cast to the offered lot lacks both the Arthur Leslie Collie edition and the J. W. Singer foundry marks, this suggests that it was cast on or after the time that the Singer foundry of Frome, Somerset and the Morris Art Bronze Foundry of Lambeth amalgamated in 1927 to create the Morris Singer Foundry. This may also explain the M and 1st raised marks to the rear of the base, with a possible hypothesis being that the M may represent the first letter of the Morris name with the 1st being an indication of an experimental or early test cast at the London branch of the foundry. Related LiteratureS. Beattie, Minneapolis Institute of Arts, cat. nos.39 and 59, p.189 and p.260.S. Jones, C. Newall, et al., Frederic, Lord Leighton: Eminent Victorian Artist, Royal Academy of Arts, 1996.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 65
An arresting Franco Flemish tapestry fragment of a seated noblewomanProbably 16th century Depicting a portion of the Triumph of Chastity over Love, the elaborately dressed seated figure, probably of Penelope, with her head twisted to sinister, a shuttle clutched in her left hand, the whole mounted onto a later panel, the whole panel 159cm high x 108cm wideFootnotes:ProvenanceProbably formerly part of the Roger Warner Collection, Sotheby's London, 5 May 1967, lot 69 (part).The present lot represents a scene of the Triumph of Chastity over Love. The original series was woven in the first quarter of the 16th century in Brussels on a 'low warp' the most sophisticated weaving technique of the period -not to mention the most expensive. The series was based on the poem I Trionfi (the Triumphs) written by Petrarch between 1352 and 1374. The series comprised six monumental tapestries woven in rich wools and silks to represent each Triumph, these included The Triumph of Love, the triumph of Chastity over Love, Death over Chastity, Frame over Death, Time over Fame and Eternity over Time.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 134
A pair of gilt bronze mounted Chinese green glazed porcelain ewers in the Louis XV tasteThe porcelain 18th century, the mounts probably English circa 1830-40The baluster bodies rising from short feet to slender knopped necks, incised with stylised floral and lappet decoration, covered overall in pale green glaze, the elaborate acanthus scrolling handles with entwined winged dragon finials and fruiting terminals, the lip mounts with acanthus and rocaille decoration and leafy flower head pendants, the footed pierced bases with ribbon tied reeded, floral and fruiting acanthus decoration, the undersides with old inventory painted marks, 13cm diam., 43cm high (5in diam., 16 1/2in high) (2)Footnotes:十八世紀 青釉刻纏枝牡丹紋瓶一對（配或1830-40年英國鎏金銅座）Provenance From the collection of the late Cornelis Paulus van Pauwvliet.The Earl of Bradford, Weston Park, Shifnal, Shropshire;Christie's, London, June 1990, lot 25.Van Rossum & Co, Amsterdam.Hinlopen Huis, Amsterdam.來源布拉德福德伯爵, 韋斯頓公園，希夫納爾，什羅普郡;倫敦佳士得，1990年6月.Van Rossum & Co，阿姆斯特丹.Hinlopen Huis，阿姆斯特丹.Related LiteratureLunsingh Scheurleer, Chinesisches und japanisches Porzellan in europäischen Fassungen, Braunschweig, 1980, pp.94-5 and pp.325-6, figs.309-10.These ormolu-mounted celadon ewers are likely to have been acquired by George Bridgeman, 2nd Earl of Bradford (1789-1865) when he inherited Weston Park in 1825. The rococo mounts with striking Chinese dragons are inspired by designs published by Jean le Pautre (d.1682) and Nicolas Pineau (d.1754) which have been combined with the early 19th century 'French' manner en vogue at the time. Related dragon vases in Carlton House supplied by the Vulliamys were much favoured during the first decade of the 19th century following the taste for chinoiserie.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 56
A Greek carved boxwood, coral beaded, 'jewelled' and applied filigree and coloured enamel gilt and white metal 'Mount Athos' cross, together with a similar period carved boxwood, seed pearl, coral beaded and 'jewelled' gilt and white metal filigree 'Mount Athos' crossthe first with later knopped pedestal stand, the second with matching double knopped filigree pedestal standboth crosses of double sided form each inset with finely carved boxwood plaques depicting narrative scenes from the life of Christ and the Virgin flanked by further plaques depicting the heads of angels and the Apostles (some losses), the first cross surmounted to the shoulders with large twin towers with cross finials, the later plain stand on flowerhead circular base, the second of smaller size with more elaborate scrolling decoration to the outer edges of the cross, the upper middle section with twin bird and ball finial, the shoulders with small twin open tower finials, the first cross, 21cm high, 12cm wide, 7cm deep (2)Footnotes:ProvenanceThe collection of Sir Michael and Lady Oppenheimer DD (3rd Baronet, British, 1924-2020), Jersey, thence by family descent. Sir Michael Oppenheimer's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire which was the Harvey Baronet's main family seat from 1788 until 1945.Sir Michael's paternal family wealth was derived from mining interests in South Africa and his father Bernard Oppenheimer, as Chairman of the South African Diamond Corporation, received a baronetcy from George V in 1921 for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The Oppenheimer family was involved with the prestigious De Beers brand over the subsequent decades of the 20th century and Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.These carved crosses were both likely made in one of the many monasteries around Mount Athos in Northern Greece and are decorated with finely carved panels depicting episodes from the Old and New Testaments. Used in the daily life and rituals of the Orthodox Church, the crosses were designed for use in the benediction of the congregation during the liturgy.This lot is subject to the following lot symbols: * Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
Lot 120
After Antoine-Denis Chaudet (1763-1810): A first half 19th century carved white marble portrait bust of NapoleonProbably ItalianThe sitter modelled full face, with bare chest and shoulders, on integral herm base, entitled NAPOLEON, 57cm high, 32cm wide, 25.5cm deepFootnotes:The offered lot is derived from an original plaster by Chaudet depicting arguably France's most famous and influential historical figure in the guise of a Roman dignitary. Originally dating from 1799, the sculptor depicted Napoleon with his plain shoulders tapering to a classically inspired 'herm' form base. The first marble version of this bust was completed by Chaudet in 1804 and further copies were subsequently made in quantity in Carrara marble between circa 1807 and 1809. Ordered by Napoleon's sister Elisa Baciocchi, who had been presented the principality of Lucca and Massa Carrara by her brother to be displayed in public buildings, the number of these busts made was estimated to be in the region of approximately 1200 although many of these marbles were subsequently destroyed after Napoleon's defeat. From 1805, copies of this same bust in three sizes were also famously made in Sevres biscuit porcelain.A bronze variant of this widely disseminated official portrait dating from after 1811 depicts the semi-clad Napoleon with the addition of a cross belt and military ornaments to the chest and is in the manner of a further fully modelled plaster bust of the statesman and warrior. This bust is however raised on a socle base and features a different handling of the face and features. The distinctive belt and ornaments were also added to the Sevres biscuit porcelain cast busts of Napoleon on herm bases which were first introduced in 1811.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 36
The 1894 Ascot 'Royal Hunt Cup': A monumental Victorian silver centrepiece / cisternCharles Frederick Hancock, London 1893, designed by Charles Bell Birch ARA (1832 - 1893)In the form of a two-handled cistern, oblong in the form of a longship, the rounded bellied ends with applied open-work high upswept scroll handles, with foliate embellishments, each centred with an oval boss, engraved '1894 ASCOT ROYAL HUNT CUP' to one handle, the other 'WON BY MR T WORTON'S VICTOR WILD 4 years 7 st. 7 lbs.', the rim with an applied bead band, either side with a cast Royal stags head issuing from a shaped, pediment with acanthus panels, the body with applied bas relief panels either side, one representing hawking / falconry, and the other a stag hunt, the incidents are taken from Tennyson's Idylls of the King, 'Merlin and Vivien' and 'Geraint and Enid', one figural landscape scene centred with lord and lady on horseback and falconers in front, the other scene centred with an archer poised by a tree, with hounds chasing a stag, below a hill top castle, both panels within a strap-work surround with outswept scroll to the ends, flanked either side with a central broad foliate band in high and low relief over a stippled ground, the whole supported by a stretcher linking eight pedestal scroll supports, the interior with a removable silver liner, with gilded inner surface, with the bespoke painted black wood plinth, height 34cm, length 58cm, weight 330oz.Footnotes:Provenance:Won by Mr Tom Worton by his racing horse Victor Wild.Thence by descent to the present owner.VICTOR WILD WINS THE ASCOT 'ROYAL HUNT CUP'This victory was achieved by the legendary four year old racehorse Victor Wild, a great middle-distance runner, who was owned by the infamous Mr Tom Worton. Tom Worton was an unusual racing horse owner, as he was not a member of the elite ruling classes, but a publican of a well known drinking establishment in Walthamstow. As such, Victor Wild and Tom Worton were extremely popular winners with the public, as they bucked convention and ignited the imagination of the masses. The Ascot Royal Hunt Cup always provides one of the greatest spectacles of the Royal Meeting as a maximum field thunders up Ascot's straight mile course for one of the biggest betting races of the season. First run in 1843, originally contested on a right-handed course over 7 furlongs and 166 yards, although the race's distance was shortened to 7 furlongs and 155 yards in 1930, but was then extended to its present length in 1956. It is now run on a straight course on the second day of the Royal meeting, and usually features a large field. It is one of three perpetual trophies at the meeting, along with the Gold Cup and the Queen's Vase, which can be kept permanently by the winning owners.The previous year on October 5th, 1893 Victor Wild won The 'Hurst Park Club Cup' with a prize money of £1,000 and the trophy, sold in these rooms, The Connoisseur's Library Sale, 14 February 2024, lot 627.For the design of his silverware, Hancock engaged the services of some of the finest modellers and sculptors of the 19th century, including Louis Freret, Baron Charles Marochetti, H. McCarthy, Eugene Lamy, Marshall Wood, Raffaele Monti, Henry Hugh Armstead RA, E. T. Parris and Charles Bell Birch ARA.This cup was designed by Charles Bell Birch ARA (1832 - 1893) for Hancocks & Co.The two bas relief scenes are based on incidents from Alfred Lord Tennyson, Idylls of the King, 'Merlin and Vivien''Here when the Queen demanded as by chance'Know ye the stranger woman?' 'Let her be,'Said Lancelot and unhooded casting offThe goodly falcon free; she towered; her bells,Tone under tone, shrilled; and they lifted upTheir eager faces, wondering at the strength,Boldness and royal knighthood of the birdWho pounced her quarry and slew it.'and 'Geraint and Enid''For Arthur on the Whitsuntide beforeHeld court at old Caerleon upon Usk.There on a day, he sitting high in hall,Before him came a forester of Dean,Wet from the woods, with notice of a hartTaller than all his fellows, milky-white,First seen that day: these things he told the King.Then the good King gave order to let blowHis horns for hunting on the morrow morn.And when the King petitioned for his leaveTo see the hunt, allowed it easily.' Literature:Joseph Cannon, 'Memoirs of an Old-Time Trainer - Part II - Victor Wild', The Illustrated Sporting and Dramatic News, July 24, 1936, pp.186-187 and p.216The Illustrated Sporting And Dramatic News, June 23, 1894, page 590, with illustrationIllustration:The Illustrated Sporting And Dramatic News, July 24 1936, the champion race horse Victor WildFor further information on this lot please visit Bonhams.com
Lot 11
A Dutch 18th century ormolu mounted mahogany, rosewood, amaranth, burr walnut, fruitwood and stained sycamore marquetry secretaire à abattantCirca 1770The grey marble top above a hinged fall inlaid with a balustrade and a canopy flanked by swags above classical vases, urns and jugs enclosing a fitted interior of six serpentine drawers with scale inlay and open compartments, the base fitted with a cupboard door inlaid with an autumnal tree, swags and classical urns, enclosing a fitted drawer, flanked by canted sides surmounted by ram's head cast ormolu mounts, the sides inlaid with classical urns, 88cm wide x 46cm deep x 138cm high, (34 1/2in wide x 18in deep x 54in high)Footnotes:ProvenanceFrom the collection of the late Cornelis Paulus van Pauwvliet.Pieter Hoogendijk Antiquairs, Baarn, where purchased probably 1993.ExhibitedPieter Hoogendijk, Les Antiquaires Au Grand Palais, XVI Biennale Internationale, Paris, 18 Sept - 4 Oct 1993.LiteratureR. J. Baarsen, 'Le Goût Français' in Dutch Furniture in the Second Half of the Eighteenth Century, TEFAF catalogue, 1991, p. 153.Annigje Hofstede, Nederlandse meubelen: Van Barok Tot Biedermeier 1700-1830, 2004, fig. 297, p. 179.This Dutch secretaire à abattant, with its classical and large scale French-style ram's head garlanded corner ormolu chute mounts and elaborate marquetry with contrasting veneers and engraved motifs, is reminiscent of the much en vogue furniture designed and manufactured 'in the French manner'. This was first advertised in Holland by Dutch cabinet maker Andries Bongen (1732-1792) in December 1766. French Neoclassical furniture by ébénistes such as Charles Topino, maître in 1773, who inlaid furniture with marquetry panels of vases and vessels popularised by designs from Vases Nouveau published by Maurice Jacques (1712-1784), was all the rage in France, England and Holland. In particular, the 1771 ban on the importation of French furniture into the Netherlands created a thriving market in which Dutch cabinet makers could create pieces in the French taste. Alongside Andries Bongen, other important Dutch makers included Arnoldus Gerritsen and Joan Lobst Swenebart. (R.J. Baarsen, Andries Bongen (ca. 1732-1792) en de Franse invloed op de Amsterdamse kastenmakerij in de 2de helft van de achttiende eeuw Oud Holland 107 (1993), pp.'s 42-43 and note 154.This lot is subject to the following lot symbols: * TP Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
Lot 160
Alfred Boucher (French, 1850-1934): A patinated bronze figural group of 'Au But (The Finishing Line)'The three semi-clad male athletes stretching towards a finishing line, on naturalistic base, signed A BOUCHER, the rear with Siot foundry pastille, raised on a contemporary swept rouge marble oval plinth, 33.5cm high, 41.5cm wide, 20.5cm deepFootnotes:The initial conception in plaster (entitled 'Les Coureurs') won a first class medal at the Paris Salon of 1886, and was praised for its original composition and the technical prowess required to create a dynamic yet perfectly balanced arrangement with each figure supported by just one leg. The French state then commissioned a life-size, bronze version. The cast was exhibited the following year and then stayed in the Luxembourg Gardens, Paris, until it was destroyed during the Nazi occupation.A comparable model was sold at Bonhams, New Bond Street, London, Sculpture & Early Works of Art, 22nd April, 2009, lot 105.For further information on this lot please visit Bonhams.com
Lot 38
Royal Presentation Box: a cased silver-gilt and enamelled boxGerald Benney, London 1977, stamped GERALD BENNEY LONDON, with master enamellers mark AAE for Alan Alfred EvansRectangular form, the hinged cover with vibrant translucent red enamelled surface over a textured rayed ground, applied to the centre with the Royal Cypher EIIR below a crown for Queen Elixabeth II, within a thin polished border, the high sides with vertical bark-effect surface and the underside with fine textured rayed surface, also similar rayed surface to the inside cover, suede interior, contained in original presentation box, gilt tooled cover with EIIR crowned cypher, inside of lined box cover printed with two Royal Warrants, and Gerald Benney Beenham House address, height 4.5cm, length 10.5cm.Footnotes:Provenance:A gift from Queen Elizabeth II to former Danish Lord Chamberlain Hans Solvhoj (1919-1989). The box was presented to him by the Queen during her state visit to Denmark in May 1979. the box has been in the late Lord Chamberlain's family until today.Another box of the same form and dimensions was sold at AUKTIONSHAUS STAHL September 2017.The box was recorded as a gift to Helmut Schmidt by Queen Elizabeth II on the occasion of her visit to Germany in 1978.Provenance was given as Helmut Schmidt, Ruth Loah.GERALD BENNEY CBE RDI (1930-2008)Gerald Benney was one of the most outstanding goldsmiths of the 20th century. With works being continuously produced for over fifty years, from private commissions to mass production. Born in Hull, Yorkshire, in 1930, Benney received many commissions from the Royal Family and was the first craftsman to hold four Royal Warrants simultaneously: from HM The Queen, Queen Elizabeth The Queen Mother, the Duke of Edinburgh and the Prince of Wales.Gerald Benney decided that his home at Beenham House in Berkshire was the place to develop the use of enamels. The first steps were to travel to Zurich to find an enameller who worked for Burch Korrodi. By chance he came across the Norwegian Berger Bergensen who had worked for the House of Bolin as well as Burch. Bergensen was persuaded to come to Beenham House and taught the Benney workforce all he knew about enamelling. With Alan Evans and Robert Winter becoming notable master enamellers for Benney.It took several years to master the craft. He refined and mastered this art enamelling larger surface areas than Fabergé.This lot is subject to the following lot symbols: Ω ARΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 147
A late Louis XV ormolu mounted tulipwood, amaranth, sycamore and stained fruitwood parquetry secretaire à abattant 'à la Grecque' by Jean-Francois Oeben (1721-1763)Circa 1765Of unusually small size, the brèche d'Alep marble top with canted corners above a secretaire fall enclosing a fitted interior with four drawers and three pigeon holes above a tambour drawer all inlaid with geometric parquetry enclosing a shelf, a drawer and a hinged strong drawer, flanked by inlaid fluted canted corners, above block feet with ormolu mounts and sabots 'à la grecque', the carcass top stamped three times: 'J.F.OEBEN', 77cm wide x 36cm deep x 96cm high, (30in wide x 14in deep x 37.5in high)Footnotes:ProvenanceFormerly with Adriano Ribolzi, Monaco, where it was purchased in 1996.From the collection of the late Cornelis Paulus van Pauwvliet.ExhibitedAdriano Ribolzi, TEFAF, Maastricht, 1996.Jean-Francois Oeben, ébéniste du Roi (in 1754), recu maître ébéniste in 1760.This elegant petit secrétaire 'à la grecque', probably conceived for a child, with its elaborate cube parquetry pattern, first evolved in the workshop of Jean-François Oeben around 1755-1760 (see F.J.B. Watson, Louis XVI Furniture, 1960, p. 68). The design, with its stylized Greek-key ormolu encadrement framing mounts, clearly characterizes the nascent Neo-Classicism of the goût grec style of the late Louis XV period.Jean-François Oeben (1721-1763) was born in Germany and must have moved to France before 1749, when he married the daughter of the ébéniste François Vandercruse, himself father of the celebrated Roger Vandercruse known as Lacroix (RVLC). Oeben was trained by the son of André-Charles Boulle from whom he rented workshop space at the Galeries du Louvre.When the latter died, Jean-François Oeben was granted a Royal warrant on 15 December 1754, enabling him to move into the Manufacture des Gobelins, as well as receiving the title of ebéniste du Roi. At that point, he employed his younger brother Simon as a journeyman. During the same year, his name appeared in the Journal du Garde-Meuble de la Couronne, having delivered a commode for the apartment of the Dauphin in Versailles. In 1756, he moved to the Arsenal when a Royal brevet granted him and his wife the life tenancy of a workshop. In 1760 he began work on the famed bureau du Roi, later completed by Jean-Henri Riesener who until then had been his principal assistant. In 1761, Oeben became a maître without requirement to pay the fees generally demanded. When he died in 1763, his widow took over his business and choose Riesener to run it, who she would eventually marry.Oeben was both an ébéniste and a mécanicien. It is only because he enjoyed Royal protection that he was able to combine two activities that guild regulations prohibited any craftsmen from practicing at the same time. Therefore, he was able to specialize in luxurious pieces of furniture incorporating elaborate mechanisms such as tables à la Bourgogne, tables de toilette or à écrire fitted with sliding tops.A nice feature of this petit secrétaire is the construction of the panelled back, which has three screws to the base, which when removed allows the back to slide down, should the keys ever be lost and the owner needs to access the inside.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 74
Attributed to the workshop of Joost van Herzeele (act. c. 1575-1590) an impressive 'Grotesques' TapestryC.1580, Antwerp, The Netherlands, probably after a design by Cornelis FlorisWoven in wools and silks, depicting an architectural setting with three arcades showing landscapes, flanked and divided by putti and grotesques, on red ground, probably depicting Balthazar's banquet, to the distant landscape there are various buildings and luscious gardenscapes, the inner border designed with simulated egg-and-dart pattern, the outer border with the four elements, water, earth fire and air of Philip II design,378cm x 292cm Footnotes:Herzeele emigrated from Brussels to Antwerp in 1580, where he established a sizeable workshop. He kept a relationship with Brussels, even signing a petition in 1586 with the title 'master in the tapestry-making craft of Brussels'. During this period the Brussels tapestry guild tried to distance itself from tapestry manufacturers that worked outside the city. Shortly thereafter Herzeele emigrated to Hamburg where he died in 1589. This tapestry can be compared to a grotesque tapestry in the Rijksmuseum that has a yellow ground and illustrates a scene from The Story of Nebuchadnezzar. This example, like the present lot, has an egg-and-dart inner border. A similar egg-and-dart border can be found a tapestry depicting The Festivities of Balthazar which is at château d'Azay-le-Rideau. It is probably that the present lot is a representation of Balthazar's banquet. Few known examples of sixteenth century Antwerp-woven tapestries survive. The precursor to all of these tapestries is, however, a series depicting Triumphs of the Gods after designs by Giovanni Francesco Penni and Giovanni da Udine of 1517 - 1520. It was first woven for Leo X while the earliest surviving example is that which was probably woven by the Dermoyen workshop in circa 1540 for Henry VIII. The 'zoological' border is based on an example ordered by Philip II of Spain, for a specific set of tapestries -depicting the life of Noah. These borders, depicting the four elements and various exotic animals, recur again and again in individual pieces and sets from the 16th century. A first set of these 'Noah Tapestries,' had been lost in a shipwreck in 1559 and the second (manufactured in 1563 and after) was made with borders where the four elements were depicted. The weaver, Willem de Pannemaker (ca.1510-1581), raised objection to this border, saying it was too hard to weave. Unluckily for him -it was a border that would be used for another fifty years. King Philip had bought the original cartoons, these were fiercely guarded in Brussels, so much so that the officials responsible for them did not let Pannemaker use them again when Margaret of Parma asked for a new edition of the set herself.LiteratureA.M.L.E. Mulder-Erkelens, Wandtapijten 2, Renaissance, Manierisme en Barok, Amsterdam, 1971, fig. 15G. Delmarcel, Flemish Tapestry, Tielt, 1999, p.177J. Coural, Le XVIe Siècle Européen, Tapisseries, Paris Mobilier National, exhibition catalogue, Paris, 1965, cat. 32T. Campbell, Tapestry in the Renaissance, exhibition catalogue, New York, 2002, cat. 26, p.246 - 252This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
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